Technogates by Andreas Wetterberg for Rumkraft

I have repeatedly thought “ Ih, I miss it” about some random VST plugin from ancient times.

This time the longing was so great that I had to do something about it. It’s about a scary, dark and abstract little effect that could really transform one’s sound. I can not even remember what it was called anymore, I just know that there is a hole in my heart where it once lived (<3)

The concept is actually quite simple: A sequencer that controls a gate.
Add a filter with a little drive and stuff like that, multiply it by four and you get “techGate”!

techGate has four identical effects in one,

Technogates by Andreas Wetterberg for Rumkraft

Let’s just follow it in the hooks.

The effects section

First, you can choose a filter type, between lowpass, bandpass, highpass or notch.

The next three knobs control filter settings. Freq controls the frequency of the filter, Res controls the resonance, and Drive controls an overdrive circuit in the filter. Drive can be used to pull some extra harmonics and punch into the sound.

“Env time” and “-curve” control a simple “decay” envelope that is started by the sequencer on the right. “Env hour” determines how long it takes to ring out, and the curve determines which curve that ringout has. It has a drastic effect on the sound, so try with -curve settings.

Short envelope times and low-curve values ​​produce short percussive sounds, and longer values ​​can produce more dramatic sounds.

-> filter and -> volume determine how much the envelope should affect the filter and amplitude, respectively. Note that -> volume is basically turned up completely; that is, the envelope always shuts down the sound completely. You can make interesting courses by opening up completely or partially to this control.

-> filter thus controls how much the envelope controls the frequency of the filter. If it is at zero, the filter stands still at the frequency it is set at Freq, and as it is turned up, the filter plays more and more with the movement of the envelope.

At the end of the sound chain is “channel volume”, which both shows the output from each channel, as well as shows the result of the envelope with the small purple meter in the middle.

Sequencer section

Each sequencer has its own length and tempo selectors, respectively. “Steps” and “meters”. With the two, a fairly wide range of timing options can be achieved, and among other things polyrhythmics between the different channels becomes possible.

The sequences have 16 steps, and a purple overlay shows where in the sequence they have reached.

The effect sounds brilliant with just a simple synth as input, and gets really nice with some sync delay after it.


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